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Essay / Research Paper Abstract
A 10 page paper which examines how the industry has grown far beyond its “Bollywood” nickname and considers how it portrays important social issues like sexuality/gender, the caste system, and regaining national identity after imperialism in such films as “Spices,” “Fire,” “Earth,” “The Apu Trilogy,” Monsoon Wedding,” and “The Home and the World.” Bibliography lists 9 sources.
Page Count:
10 pages (~225 words per page)
File: TG15_TGindcin.rtf
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Unformatted sample text from the term paper:
terms of the number of films it produces, was centered in Bombay for many years (Rajadhyaksha 398). As a result, Bombay earned the nickname "Bollywood" for its reputation as
the Hollywood of the East. While it is true, Bombay was the official birthplace of Indian cinema, and housed a trio of massive studios that were responsible for the
countrys prodigious film output - the Kohinoor Film Company, the Ranjit Movietone and the Imperial Film Company - times have changed, and with these changing times have come notable shifts
in production trends and locations. Today, filmmaking in India has become a regional enterprise, and it is now Chennai, which is on the opposite coast of Madras that currently
reigns as its cinematic capital (Stafford). Although much of the film industry remains concentrated in the southern portion, it is dispersed among four regional states (Madras, Andhra Pradesh, Karnataka
and Kerala), which, combined, "surpass Bollywood in productions, but do not have the same profile throughout the country nor abroad" (Stafford). Despite the regional diversity of Indian filmmaking, content has
remained surprisingly consistent, at least in terms of prominently featuring musical and dance sequences (Stafford). Back in the 1980s, reviewer Steven Weisman, in an article featured in The New
York Times, described Indian cinema as "an all purpose dream engine delivering gaudy three-hour extravaganzas packed with romance, action, fantasy and music" (Vazzana 46). Furthermore, according to Weisman,
"No movie is complete unless it has a bewildering mixture of narrow escapes, mistaken identities, dream sequences, slapstick comedy, star-crossed lovers, violent brawling, sadistic black-clad villains and elaborate song-and-dance production
numbers" (Vazzana 46). It must be remembered that films are the primary source of entertainment in India, and therefore, movies, regardless of genre, incorporate a bit of everything -
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